Golden land 1 - William Faulkner1 FINAL

Golden Land
Part One

by William Faulkner

Nobel Prize-winning author and screenwriter William Faulkner wrote one short story about Hollywood: a 1930s real estate tycoon is driven to drink after his daughter becomes a scandalous starlet. First of two parts. 3,555 words. Illustration by Thomas Warming.


If he had been thirty, he would not have needed the two aspirin tablets and the half glass of raw gin before 8547D799-C475-4659-B563-17A9A283F8B3he could bear the shower’s needling on his body and steady his hands to shave. But then when he had been thirty neither could he have afforded to drink as much each evening as he now drank; certainly he would not have done it in the company of the men and the women in which, at forty-eight, he did each evening, even though knowing during the very final hours filled with the breaking of glass and the shrill cries of drunken women above the drums and saxophones the hours during which he carried a little better than his weight both in the amount of liquor consumed and in the number and sum of checks paid that six or eight hours later he would rouse from what had not been sleep at all but instead that dreamless stupefaction of alcohol out of which last night’s turgid and licensed uproar would die, as though without any interval for rest or recuperation, into the familiar shape of his bedroom, the bed’s foot silhouetted by the morning light which entered the bougainvillaea-bound windows beyond which his painful and almost unbearable eyes could see the view which might be called the monument to almost twenty-five years of industry and desire, of shrewdness and luck and even fortitude: the opposite canyon-flank dotted with the white villas half hidden in imported olive groves or friezed by the sombre spaced columns of cypress like the facades of eastern temples, whose owners’ names and faces and even voices were glib and familiar in back corners of the United States and of America and of the world where those of Einstein and Rousseau and Esculapius had never sounded.

He didn’t waken sick. He never wakened ill nor became ill from drinking, not only because he had drunk too long and too steadily for that, but because he was too tough even after the thirty soft years; he came from too tough stock, on that day thirty-four years ago when at fourteen he had fled, on the brake-beam of a west-bound freight, the little lost Nebraska town named for, permeated with, his father’s history and existence, a town to be sure, but only in the sense that any shadow is larger than the object which casts it. It was still frontier even as he remembered it at five and six: the projected and increased shadow of a small outpost of sod-roofed dugouts on the immense desolation of the plains where his father, Ira Ewing too, had been first to essay to wring wheat during the six days between those when, outdoors in spring and summer and in the fetid half dark of a snowbound dugout in the winter and fall, he preached. The second Ira Ewing had come a long way since then, from that barren and treeless village which he had fled by a night freight to where he now lay in a hundred-thousand-dollar house, waiting until he knew that he could rise and go to the bath and put the two aspirin tablets into his mouth.

They, his mother and father, had tried to explain it to him, something about fortitude, the will to endure. At fourteen he could neither answer them with logic and reason nor explain what he wanted: he could only flee. Nor was he fleeing his father’s harshness and wrath. He was fleeing the scene itself, the treeless immensity in the lost center of which he seemed to see the sum of his father’s and mother’s dead youth and bartered lives as a tiny forlorn spot which nature permitted to green into brief and niggard wheat for a season’s moment before blotting it all with the primal and invincible snow as though (not even promise, not even threat) in grim and almost playful augury of the final doom of all life. And it was not even this that he was fleeing because he was not fleeing: it was only that absence, removal, was the only argument which fourteen knew how to employ against adults with any hope of success. He spent the next ten years half tramp half casual laborer as he drifted down the Pacific Coast to Los Angeles; at thirty he was married, to a Los Angeles girl, daughter of a carpenter, and father of a son and a daughter and with a foothold in real estate; at forty-eight he spent fifty thousand dollars a year, owning a business which he had built up unaided and preserved intact through nineteen-twenty-nine; he had given to his children luxuries and advantages which his own father not only could not have conceived in fact, but would have condemned completely in theory as it proved, as the paper which the Filipino chauffeur, who each morning carried him into the house and undressed him and put him to bed, had removed from the pocket of his topcoat and laid on the reading table proved, with reason. On the death of his father twenty years ago he had returned to Nebraska, for the first time, and fetched his mother back with him, and she was now established in a home of her own only the less sumptuous because she refused (with a kind of abashed and thoughtful unshakability which he did not remark) anything finer or more elaborate. It was the house in which they had all lived at first, though he and his wife and children had moved within the year. Three years ago they had moved again, into the house where he now waked in a select residential section of Beverley Hills, but not once in the nineteen years had he failed to stop (not even during the last five, when to move at all in the mornings required a terrific drain on that character or strength which the elder Ira had bequeathed him, which had enabled the other Ira to pause on the Nebraska plain and dig a hole for his wife to bear children in while he planted wheat) on his way to the office (twenty miles out of his way to the office) and spend ten minutes with her. She lived in as complete physical ease and peace as he could devise. He had arranged her affairs so that she did not even need to bother with money, cash, in order to live; he had arranged credit for her with a neighboring market and butcher so that the Japanese gardener who came each day to water and tend the flowers could do her shopping for her; she never even saw the bills. And the only reason she had no servant was that even at seventy she apparently clung stubbornly to the old habit of doing her own cooking and housework. So it would seem that he had been right. Perhaps there were times when, lying in bed like this and waiting for the will to rise and take the aspirin and the gin (mornings perhaps following evenings when he had drunk more than ordinarily and when even the six or seven hours of oblivion had not been sufficient to enable him to distinguish between reality and illusion) something of the old strong harsh Campbellite blood which the elder Ira must have bequeathed him might have caused him to see or feel or imagine his father looking down from somewhere upon him, the prodigal, and what he had accomplished. If this were so, then surely the elder Ira, looking down for the last two mornings upon the two tabloid papers which the Filipino removed from his master’s topcoat and laid on the reading table, might have taken advantage of that old blood and taken his revenge, not just for that afternoon thirty-four years ago but for the entire thirty-four years.

When he gathered himself, his will, his body, at last and rose from the bed he struck the paper so that it fell to the floor and lay open at his feet, but he did not look at it. He just stood so, tall, in silk pajamas, thin where his father had been gaunt with the years of hard work and unceasing struggle with the unpredictable and implacable earth (even now, despite the life which he had led, he had very little paunch) looking at nothing while at his feet the black headline flared above the row of five or six tabloid photographs from which his daughter alternately stared back or flaunted long pale shins: "APRIL LALEAR BARES ORGY SECRETS." When he moved at last he stepped on the paper, walking on his bare feet into the bath; now it was his trembling and jerking hands that he watched as he shook the two tablets onto the glass shelf and set the tumbler into the rack and unstoppered the gin bottle and braced his knuckles against the wall in order to pour into the tumbler. But he did not look at the paper, not even when, shaved, he re-entered the bedroom and went to the bed beside which his slippers sat and shoved the paper aside with his foot in order to step into them. Perhaps, doubtless, he did not need to. The trial was but entering its third tabloidal day now, and so for two days his daughter’s face had sprung out at him, hard, blonde and inscrutable, from every paper he opened; doubtless he had never forgot her while he slept even, that he had waked into thinking about remembering her as he had waked into the dying drunken uproar of the evening eight hours behind him without any interval between for rest or forgetting.

Nevertheless as, dressed in a burnt orange turtleneck sweater beneath his gray flannels, he descended the Spanish staircase, he was outwardly calm and possessed. The delicate iron balustrade and the marble steps coiled down to the tile-floored and barn-like living room beyond which he could hear his wife and son talking on the breakfast terrace. The son’s name was Voyd. He and his wife had named the two children by what might have been called mutual contemptuous armistice: his wife called the boy Voyd, for what reason he never knew; he in his turn named the girl (the child whose woman’s face had met him from every paper he touched for two days now beneath or above the name, April Lalear) Samantha, after his own mother. He could hear them talking: the wife between whom and himself there had been nothing save civility, and not always a great deal of that, for ten years now; and the son who one afternoon two years ago had been delivered at the door drunk and insensible by a car whose occupants he did not see and, it devolving upon him to undress the son and put him to bed, whom he discovered to be wearing, in place of underclothes, a woman’s brassiere and step-ins. A few minutes later, hearing the blows perhaps, Voyd’s mother ran in and found her husband beating the still unconscious son with a series of towels which a servant was steeping in rotation in a basin of ice-water. He was beating the son hard, with grim and deliberate fury. Whether he was trying to sober the son up or was merely beating him, possibly he himself did not know.

His wife though jumped to the latter conclusion. In his raging disillusionment he tried to tell her about the woman’s garments but she refused to listen; she assailed him in turn with virago fury. Since that day the son had contrived to see his father only in his mother’s presence (which neither the son nor the mother found very difficult, by the way) and at which times the son treated his father with a blend of cringing spite and vindictive insolence half a cat’s and half a woman’s.

Faulkner Photo LA typewriter

He emerged onto the terrace; the voices ceased. The sun, strained by the vague high soft almost nebulous California haze, fell upon the terrace with a kind of treacherous unbrightness. The terrace, the sun-drenched terra cotta tiles, butted into a rough and savage shear of canyon-wall bare yet without dust, on or against which a solid mat of flowers bloomed in fierce lush myriad-colored paradox as though in place of being rooted into and drawing from the soil they lived upon air alone and had been merely leaned

intact against the sustenanceless lava-wall by someone who would later return and take them away. The son, Voyd, apparently naked save for a pair of straw-colored shorts, his body brown with sun and scented faintly by the depilatory which he used on arms, chest and legs, lay in a wicker chair, his feet in straw beach shoes, an open newspaper across his brown legs. The paper was the highest class one of the city, yet there was a black headline across half of it too, and even without pausing, without even being aware that he had looked, Ira saw there too the name which he recognized.

He went on to his place; the Filipino who put him to bed each night, in a white service jacket now, drew his chair.

Beside the glass of orange juice and the waiting cup lay a neat pile of mail topped by a telegram. He sat down and took up the telegram; he had not glanced at his wife until she spoke: "Mrs. Ewing telephoned. She says for you to stop in there on your way to town."

He stopped; his hands opening the telegram stopped. Still blinking a little against the sun he looked at the face opposite him across the table the smooth dead makeup, the thin lips and the thin nostrils and the pale blue unforgiving eyes, the meticulous platinum hair which looked as though it had been transferred to her skull with a brush from a book of silver leaf such as window painters use. "What?" he said. "Telephoned? Here?"

"Why not? Have I ever objected to any of your women telephoning you here?"

The unopened telegram crumpled suddenly in his hand.

"You know what I mean," he said harshly. "She never telephoned me in her life. She don’t have to. Not that message. When have I ever failed to go by there on my way to town?"

"How do I know?" she said. "Or are you the same model son you have been a husband and seem to be a father?" Her voice was not shrill yet, nor even very loud, and none could have told how fast her breathing was because she sat so still, rigid beneath the impeccable and unbelievable hair, looking at him with that pale and outraged unforgiveness. They both looked at each other across the luxurious table: the two people who at one time twenty years ago would have turned as immediately and naturally and unthinkingly to one another in trouble, who even ten years ago might have done so.

"You know what I mean," he said, harshly again, holding himself too against the trembling which he doubtless believed was from last night’s drinking, from the spent alcohol. "She don’t read papers. She never even sees one. Did you send it to her?"

"I?" she said. "Send what?"

"Damnation!" he cried. "A paper! Did you send it to her? Don’t lie to me."

"What if I did?" she cried. "Who is she, that she must not know about it? Who is she, that you should shield her from knowing it? Did you make any effort to keep me from knowing it? Did you make any effort to keep it from happening? Why didn’t you think about that all those years while you were too drunk, too besotted with drink, to know or notice or care what Samantha was?"

"Miss April Lalear of the cinema, if you please," Voyd said. They paid no attention to him; they glared at one another across the table.

"Ah," he said, quiet and rigid, his lips scarcely moving. "So I am to blame for this too, am I? I made my daughter a bitch, did I? Maybe you will tell me next that I made my son a f…"

"Stop!" she cried. She was panting now; they glared at one another across the suave table, across the five feet of irrevocable division.

"Now, now," Voyd said. "Don’t interfere with the girl’s career. After all these years, when at last she seems to have found a part that she can…" He ceased; his father had turned and was looking at him. Voyd lay in his chair, looking at his father with that veiled insolence that was almost feminine. Suddenly it became completely feminine; with a muffled half-scream he swung his legs out to spring up and flee but it was too late; Ira stood above him, gripping him not by the throat but by the face with one hand, so that Voyd’s mouth puckered and slobbered in his father’s hard, shaking hand. Then the mother sprang forward and tried to break Ira’s grip but he flung her away and then caught and held her, struggling too, with the other hand when she sprang in again.

"Go on," he said. "Say it." But Voyd could say nothing because of his father’s hand gripping his jaws open, or more than likely because of terror. His body was free of the chair now, writhing and thrashing while he made his slobbering, moaning sound of terror while his father held him with one hand and held his screaming mother with the other one.

Then Ira flung Voyd free, onto the terrace; Voyd rolled once and came onto his feet, crouching, retreating toward the French windows with one arm flung up before his face while he cursed his father. Then he was gone. Ira faced his wife, holding her quiet too at last, panting too, the skillful map of makeup standing into relief now like a paper mask trimmed smoothly and pasted onto her skull. He released her.

"You sot," she said. "You drunken sot. And yet you wonder why your children…"

"Yes," he said quietly. "All right. That’s not the question. That’s all done. The question is, what to do about it. My father would have known. He did it once." He spoke in a dry light pleasant voice: so much so that she stood, panting still but quiet, watching him. "I remember. I was about ten. We had rats in the barn. We tried everything. Terriers. Poison. Then one day father said, ‘Come.’ We went to the barn and stopped all the cracks, the holes. Then we set fire to it. What do you think of that?" Then she was gone too.

He stood for a moment, blinking a little, his eyeballs beating faintly and steadily in his skull with the impact of the soft unchanging sunlight, the fierce innocent mass of the flowers.

"Philip!" he called. The Filipino appeared, brownfaced, impassive, with a pot of hot coffee, and set it beside the empty cup and the ice-bedded glass of orange juice. "Get me a drink," Ira said. The Filipino glanced at him, then he became busy at the table, shifting the cup and setting the pot down and shifting the cup again while Ira watched him.

"Did you hear me?" Ira said. The Filipino stood erect and looked at him.

"You told me not to give it to you until you had your orange juice and coffee."

"Will you or won’t you get me a drink?" Ira shouted.

"Very good, sir," the Filipino said. He went out. Ira looked after him; this had happened before: he knew well that the brandy would not appear until he had finished the orange juice and the coffee, though just where the Filipino lurked to watch him he never knew. He sat again and opened the crumpled telegram and read it, the glass of orange juice in the other hand. It was from his secretary: MADE SETUP BEFORE I BROKE STORY LAST NIGHT STOP THIRTY PERCENT FRONT PAGE STOP MADE APPOINTMENT FOR YOU COURTHOUSE THIS P.M. STOP WILL YOU COME TO OFFICE OR CALL ME. He read the telegram again, the glass of orange juice still poised. Then he put both down and rose and went and lifted the paper from the terrace where Voyd had flung it, and read the half headline: "LALEAR WOMAN DAUGHTER OF PROMINENT LOCAL FAMILY." "Admits Real Name Is Samantha Ewing, Daughter of Ira Ewing, Local Realtor." He read it quietly; he said quietly, aloud: "It was that Jap that showed her the paper. It was that damned gardener." He returned to the table. After a while the Filipino came, with the brandy-and-soda, and wearing now a jacket of bright imitation tweed, telling him that the car was ready.

Part Two.

This short story first posted here on November 11, 2015. First published in The American Mercury in 1935. Story and photographs (c) Copyright 2015 Faulkner Literary Rights, LLC. Used with permission, The Literary Estate of William Faulkner, Lee Caplin, Executor. Soon to be a motion picture produced by Lee Caplin/Picture Entertainment.

About The Author:
William Faulkner
William Faulkner (1897-1962) received the Nobel Prize in Literature and two Pulitzer Prizes. The Mississippi writer moved to Hollywood in May 1932 when MGM Studios offered him work as a screenwriter. While not a fan of film, he needed the money and received official screen credits for six theatrical releases, five with director Howard Hawks. This is Faulkner's only short story about Hollywood.

About William Faulkner

William Faulkner (1897-1962) received the Nobel Prize in Literature and two Pulitzer Prizes. The Mississippi writer moved to Hollywood in May 1932 when MGM Studios offered him work as a screenwriter. While not a fan of film, he needed the money and received official screen credits for six theatrical releases, five with director Howard Hawks. This is Faulkner's only short story about Hollywood.

  5 comments on “Golden Land
Part One

  1. Amazing. The first time through I couldn’t grasp the first one sentence paragraph of such length. Kept re-reading it. Days later I tired again. This time I must have been more sober or perhaps just free of life; able to concentrate. It read like butter. At the end I thought, wait a minute, where’s the rest? I’d thought I was only on the teaser page. So concise and full of so much in so little a space. You have to interact with this kind of writing. It works your brain.

    1. My father heard him speak at UVA during 1957-58 residency, was so jealous of that as a writer, until some audio became available. Since you learned to like the work… here’s where Faulkner gives tips on writing from the late-50’s:http://faulkner.lib.virginia.edu

  2. What a treat to read just for language — "Virago Fury" would be a great spin-off, set in the period. Incredible (correct) usage of comma, semicolon, and colon. Study in slow-burn Southern Gothic applied.

  3. Only the great William Faulkner drops the fascinating detail that the protagonist of his story was born in a hole in the ground on the Nebraska plane that his father dug for his mother so he wouldn’t have to stop planting wheat… IN A PARENTHETICAL!

Leave a Reply to Quendrith ... 'Golden Land' Cancel reply

​Commenting at Hollywood Dementia
is a privilege, not a right.

Your name will be kept confidential if you want. Comments are monitored. So please stick to the story's characters and plots because this is Hollywood fiction, remember?

You may use these HTML tags and attributes: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <s> <strike> <strong>